View allAll Photos Tagged Existence
You'll make us wanna die
I'd cut your name in my heart
We'll destroy this world for you
And now you want me to feel your pain
Dark Demons' Night II (Kavka Antwerpen)
Video: youtu.be/aKS4rAMScPI
More: soundcloud.com/comafrequency/06-coma-frequency-feat-eufor...
And who told the light manager hat it would be a good idea to use only red lights and cut all front lights?
The rock garden design came into existence because I wanted to create a design that was similar to the full, vivid nature of my leafy design, but more delicate. This blue/purple rock garden bracelet is the second one with this design that is for sale.
The bracelet is made with a rich mix of size 6 and 11 Czech seed beads, Japanese cube beads, amethyst chips, Czech leaf beads, and a fun assortment of other Czech glass beads in a variety of sizes and colors. It is made in a right angle weave technique. Each layer is double woven to ensure longevity. The clasp is a periwinkle plastic button that fits into a double beaded loop made with the same seed beads used in the bracelet.
The bracelet is 6 3/4" (17.15 cm) long when clasped. It is 7 1/2" (19 cm) long from end to end, including the clasp. It is 3/4" (1.9 cm) wide at the widest parts.
Photograph taken at 12:45pm at an altitude of One hundred and fifty two metres on Thursday 18th September 2014 off Willis Point Road and Durrance Road, on the shoreline of Durrance Lake.
The largest of three lakes within Mount Work Regional Park in Victoria, British Columbia, Canada, Durrance Lake Regional Park, nestled in the shadow of Mount Work and neighbouring Partridge Hills, is a fabulous location for walking, swimming and fly fishing (there's a population of Smallmouth bass and Cutthroat Trout), and a little jewel that has me returning again and again.
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Nikon D800 45mm 1/125s f/2.8 iso100 RAW (14 bit) Hand held. Manual focus. Manual exposure. Matrix metering. Auto white balance.
Nikkor AF-S 24-70mm f/2.8G ED IF. Jessops 77mm UV filter. Nikon MB-D12 battery grip. Two Nikon EN-EL batteries. Nikon DK-17M Magnifying Eyepiece. Nikon DK-19 soft rubber eyecup. Digi-Chip 64GB Class 10 UHS-1 SDXC. Lowepro Transporter camera strap. Lowepro Vertex 200 AW camera bag. Nikon GP-1 GPS unit.
LATITUDE: N 48d 32m 49.61s
LONGITUDE: W 123d 28m 29.62s
ALTITUDE: 152.0m
RAW (TIFF) FILE SIZE: 103.00MB
PROCESSED (JPeg) SIZE: 14.68MB
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Processing power:
HP Pavillion P6-2388EA Desktop with AMD A10-5700 APU processor. AMD Radeon HD 7570 graphics. 2TB with 8GB RAM. 64-bit Windows 8.1. Verbatim USB 2.0 1TB desktop hard drive. Nikon VIEWNX2 Version 2.10.0 64bit. Adobe photoshop Elements 8 Version 8.0 64bit
The holes of existence series explores the many unique holes that we find ourselves trapped in. The grey hole keeps us trapped in a mundane, flatline of existence. Embracing the grey will allow the ordinariness of the universe to be seen and all the colors that dance through it. www.youtube.com/watch?v=CsbvdVCWtjI
self manufactured images of self.
research on a greater project on the manufacturing of identity in the myspace generation.
Irreverent Existence
By: Jason Byrd
06/10/08
Walk with less irreverence
Talk with less distain
If you knew you had me
You’d hurt me once again
If you’ve read my memoir
If you’ve heard the cries
Then why the soothing Poison
That’s hollowed out my eyes
Words are loud when written
They sneak between the ears
When rearranged correctly
They amplify our fears
Try to paint my picture
The colors swirl about
You painted yourself in here
So bleed your own way out
Meter with no rhythm
A poem without a rhyme
A beat that’s always thumping
While never keeping time
Mounds of wilted flowers
A rose without a thorn
My head was hanging proudly
That day when I was born
Little did I expect to find the old platforms still in existence behind Curzon Street Station. This area will be redeveloped as Curzon Park, so who knows what will happen to the platforms. You can kind of see where the tracks were once laid.
The main line to New Street is in the background.
Had to poke camera through the bars of a locked gate, best I could get.
The Royal Mail depot was on the site until it was demolished in 2006.
Sunlight carried an extensive tapestry of significance in Mithraism, indicating divine strength, illumination, spiritual rebirth, and ethical instruction. It was a deep metaphor for the riddles of life, death, and the search for heavenly understanding, not just a physical phenomenon. With its sophisticated rituals and symbolic language, the Mithraic Mysteries employed sunlight as a potent tool to transmit spiritual concepts and assist initiates on their transformational journey from the dark into the bright light of Mithras. While Mithraism’s exact practices have mostly gone into history, the symbolic importance of sunshine in this ancient religion remains brilliant in religious studies, shedding light on the continuing human yearning for spiritual illumination and enlightenment. One of the most prominent and recurring symbols in Mithraism was sunlight, which held deep symbolic meaning for its practitioners. In this paper, we will explore the significance of sunlight in Mithraism, examining how it represented various aspects of this enigmatic faith. This study investigates the symbolic meaning of sunshine in the context of Mithraism, examining its various interpretations and functions in this mysterious faith’s spiritual and intellectual landscape.
Introduction
Mithraism, also known as the “Mithraic Mysteries,” is a religious cult worshipping Mithras, a deity linked to the sun and heavenly forces (Cumont, 2018). In Mithraism, sunlight was revered as the source of all life. Mithras is often depicted as emerging from a rock, holding a dagger and a torch, with rays of sunlight around. This imagery symbolises the birth of life from the primal rock, with sunlight representing the divine force that sustains all existence.
The metaphorical meaning of sunlight in Mithraism is a topic of significant interest and dispute among researchers. To grasp its significance, it is necessary to investigate the context in which it was used and the layers of symbolism surrounding it (Britannica, n.d.). The belief in Mithras as a sun deity is central to Mithraism. Because the sun is a strong and life-giving energy, it has long been cherished as a symbol of divine power and enlightenment. Mithras frequently represented fighting a bull in Mithraic imagery and are strongly associated with the sun’s energy and its role in the life-death cycle (Persoons, 2023).
Sunlight also symbolized knowledge and enlightenment in Mithraism. Mithraic initiates, known as mystai, believed that through their devotion and rituals, they could attain a higher level of understanding and insight. With its penetrating and illuminating qualities, sunlight served as a metaphor for the enlightenment that awaited those who pursued the mysteries of the faith.
The Mithraic Grades
The Mithraic Mysteries had a unique system of initiation that consisted of seven separate classes, each having significant symbolic implications and rites. This section dives into the Mithraic grades, investigating their significance in Mithraism and their function in taking initiates through a transformational spiritual journey. The seven classes are detailed, from lowest to greatest, and their symbolic significance. Mithraism, a mysterious and restricted Roman mystery religion focused on worshiping the deity Mithras, provided its followers with a systematic route of spiritual growth through seven distinct degrees. These degrees were an important part of Mithraic initiation, each one representing a symbolic step of spiritual progress.
Corax, the first grade, represented the first level of spiritual awareness. This initiator level was considered novices, marking their entrance into the Mithraic mysteries. The raven, frequently connected with darkness, functioned as a symbol for the unenlightened soul in search of heavenly understanding. Advancing to the Nymphus grade marked the transition from spiritual darkness to a deeper understanding. Initiates at this stage were seen as spiritual youths, symbolizing growth and maturation. This grade emphasized purity and the beginnings of a deeper connection with Mithras. The Nymphus grade indicated the passage from spiritual darkness to greater comprehension. Initially, initiates were viewed as spiritual youngsters, representing development and maturation. This grade emphasised purity and the start of a closer relationship with Mithras. In the Miles grade, initiates were compared to soldiers to symbolise their dedication to the Mithraic cause. This stage signified perseverance and bravery in the face of adversity. This stage signified perseverance and bravery in the face of adversity.
As they approached the inner secrets, initiates were urged to show strength and tenacity. The Leo zodiac sign represented boldness and power. At this level, initiates were supposed to confront and overcome their anxieties, much like a lion confronting its opponents. It was a huge stride forward regarding spiritual mastery and inner power. The lion’s association with the sun was significant in Mithraism, a religion with solar solid attributes. The lion’s majestic and radiant nature paralleled the symbolism of the sun, reinforcing the belief in cosmic order and the divine power of light over darkness. This connection between the lion and the sun emphasized the celestial aspects of Mithraism.
Advancement to the Persian grade demonstrated a growing grasp of Mithraism’s Persian roots. Initiates were urged to engage with the religion’s historic Persian traditions. This stage focused on knowledge and wisdom. The Heliodromus grade was strongly tied with the sun, with initiates being referred to as “sun-runners”. At this point, the initiate was ready to accept Mithras’ heavenly light fully. They were supposed to be enlightened by the sun god’s wisdom and might. Pater, to the highest degree, represented the pinnacle of Mithraic initiation. Initiates who achieved this level were said to have been reincarnated, having acquired spiritual perfection and oneness with Mithras. The Pater was regarded as a spiritual parent, helping others to enlightenment.
The Mithraic grades provided initiates with a systematic and symbolic framework for progressing through stages of spiritual development, each filled with profound meaning and transformational potential. Individuals progressed spiritually from lower to higher grades, mirroring the ascension from darkness to divine enlightenment. While the specifics of Mithraism have largely passed into history, the symbolism of the seven Mithraic degrees lives on in the annals of ancient religious traditions, illuminating the desire for spiritual progress and enlightenment.
The Radiant Divinity: Exploring the Sun Deity in Ancient Religions
With its life-giving light, the Sun has held a central place in the spiritual and religious beliefs of diverse cultures throughout history. It has inspired awe and reverence as one of the most universally visible celestial objects. This section delves into the concept of the Sun deity in various ancient religions, shedding light on the significance and symbolism attributed to this celestial body across different civilizations.
Zoroastrianism and Mithraism share notions and spiritual similarities, representing the rich fabric of religious beliefs that arose in ancient Persia. While these two faiths had separate practices and beliefs, they also had fundamental similarities, most likely inspired by their period and place of origin’s cultural and historical environment. Understanding Zoroastrianism and Mithraism via these intersections provides insights into the ancient world’s complex and interrelated history of religious thinking.
Zoroastrianism (Boyce, 1975) and Mithraism, two ancient religious traditions that arose in the same geographical location, provide an intriguing junction of spiritual ideas and related conceptions. This section delves into the key reciprocal notions these two religions share, offering insight into the influences and links that produced their theological landscapes. The reverence of light, cosmic dualism, and ethical ideals are investigated as key areas of convergence to reveal the rich tapestry of concepts that led to the formation of both religions.
Zoroastrianism (Rose, 2014) and Mithraism, a mystery religion centred on worshiping Mithras, shared a historical and cultural setting in the Persian Empire. Because of this proximity, reciprocal conceptions and spiritual similarities arose, which fascinate historians and fans alike.
The venetration of light is central to Zoroastrianism, as Ahura Mazda represents the ultimate god commonly connected with the sun. Light represents heavenly knowledge, purity, and the never-ending struggle against darkness and evil. Mithraism emphasises light, with Mithras himself being a sun deity. Mithraic ceremonies were frequently performed in underground chambers (mithraea) lit by a central lamp, symbolising the triumph of light over darkness.
The dual worldview of Zoroastrianism is noted for positing the perpetual fight between Ahura Mazda (the deity of righteousness, light, and truth) and Angra Mainyu (or Ahriman, the god of darkness and deception). This cosmic contradiction shapes the moral and ethical foundation of faith. While not as blatantly dualistic as Zoroastrianism, Mithraism recognises the interaction of cosmic forces, with Mithras embodying the forces of light and virtue and Chaos and Darkness. Mithraic symbols and rites reflect this dualistic contradiction.
Zoroastrianism places a high value on ethical behaviour and pursuing suitable activities. The moral code of the faith, reflected in concepts like “Good Thoughts, Good Words, Good Deeds”, corresponds with the overarching purpose of contributing to the triumph of good over evil. Mithraism encourages ethical living by encouraging initiates to live virtuous lives marked by discipline, courage, and honesty. The Mithraic degrees represent the spiritual quest for moral refinement and enlightenment. Zoroastrianism involves fire and giving ceremonies that symbolise cleansing and spiritual development. The fire altar is fundamental to the Zoroastrian religion. Mithraism is notable for its symbolic rites, such as the tauroctony, which may reflect the cosmic sacrifice required for life’s regeneration and the victory of light .The ancient Egyptians venerated the Sun as Ra, the supreme creator god and the source of all life. Ra was often depicted as a powerful falcon-headed deity. The Sun’s daily journey across the sky was seen as Ra’s journey through the underworld at night, symbolizing death and rebirth. Temples dedicated to Ra, such as the Karnak Temple in Luxor, were built to align with the Sun’s movement, emphasizing its importance in their religious practices.
In Hinduism, the Sun is personified as Surya, the god of the Sun, who rides a chariot across the sky. Surya is a symbol of illumination but also of knowledge and enlightenment. The Gayatri Mantra, one of the most sacred hymns in Hinduism, is dedicated to Surya and is recited by millions of Hindus daily, emphasizing the Sun’s spiritual significance.
The ancient Mesoamerican civilizations, including the Aztecs and Maya, worshipped the Sun as a deity. In Aztec mythology, Huitzilopochtli was the Sun god and the patron deity of the Aztecs. He was associated with war and sacrifice, and his temple, Templo Mayor, was positioned to align with the rising Sun during important ceremonies. Similarly, the Maya civilization revered Kinich Ahau as the Sun god and his presence was crucial in their agricultural and calendrical rituals.
In Norse mythology, the Sun is personified as Sol, a goddess who rides a chariot through the sky. Her brother, Mani, is the personification of the Moon. The Norse people believed Sol was chased by the wolf Skoll, symbolizing the inevitable eclipse or darkness. This mythological tale reflects the cyclical nature of day and night in the Norse worldview.
In Greek mythology, Helios was the god of the Sun, often depicted as driving a chariot across the sky. In Roman mythology, Sol was the Sun god, and his worship was closely linked with the official state religion. The Roman Emperor Aurelian even established a new cult of Sol Invictus (the Unconquered Sun) to emphasize the Sun’s role in maintaining the empire’s prosperity.
The concept of a Sun deity played a significant role in various ancient religions, symbolizing life, light, and divinity. These deities were not only celestial beings but also cultural and spiritual icons that influenced daily life, rituals, and societal structures. The universal reverence for the Sun across different civilizations reflects humanity’s profound connection to the natural world and the awe-inspiring forces that shape our existence.
Illuminating Mysteries
Mithraism strongly believed in the cosmic order and the role of celestial forces in shaping human destiny. As a celestial body, the sun was seen as a powerful force that influenced the course of events on Earth. Devotees of Mithras believed that by aligning themselves with the sun and its cycles, they could tap into this cosmic energy and achieve harmony. Sunlight in Mithraism also represented a triumph over darkness and evil. Mithras was often depicted slaying a bull, a scene known as the “tauroctony”. This act was seen as a cosmic battle between light and darkness, with Mithras representing the conquering force of light. In this context, sunlight symbolised the ultimate victory of good over evil. Mithra is frequently represented as a solar deity, representing the sun’s life-giving and purifying properties. Mithraism, also known as the “Mithraic Mysteries”, was a religious cult worshipping Mithras, a deity linked to the sun and heavenly energies. The metaphorical meaning of sunlight in Mithraism is a topic of significant interest and dispute among researchers. To grasp its significance, it is necessary to investigate the context in which it was used and the layers of symbolism surrounding it.
The belief in Mithras as a sun deity is central to Mithraism. As a strong and life-giving force, the sun was adored as a symbol of divine might and enlightenment. Mithras, who is frequently represented fighting a bull in Mithraic art, is strongly associated with the sun’s energy and its role in the life-death cycle.
Mithraic initiation ceremonies centred on the notion of moving from darkness to light. Initiates would go through seven degrees or stages, representing the soul’s elevation to divine knowledge. The ultimate objective was to achieve the highest degree, known as “Pater,” at which point the initiate would be reborn into a new spiritual existence bathed in Mithras’ light, commonly represented as the rising sun.
Sunlight was a physical source of lighting in Mithraism and a powerful symbol of knowledge, truth, and spiritual enlightenment. It symbolised the transformation from ignorance to enlightenment, echoing the initiate’s path. Seeing the rising sun during Mithraic ceremonies was analogous to the birth of divinely bestowed wisdom. Mithraism placed a premium on cosmic order and harmony. The sun was considered an embodiment of this cosmic order, a sign of regularity and predictability in the natural world. Its daily rising and setting echoed life, death, and rebirth cycles, confirming the Mithraic belief that the soul is everlasting nature.
Conclusion
Mithraism is a pre-Zoroastrian religious system centred on worshiping Mithra, an Iranian god linked with different features such as the sun, justice, contracts, and battle. Sunlight is a major and repeating motif among its numerous metaphorical aspects. The theme of transitioning from darkness to light was central to the Mithraic initiation ceremonies. Initiates would proceed through seven degrees or levels, symbolising the soul’s ascension to divine insight. The ultimate objective was to attain the highest grade, known as “Pater”, when the beginner would experience being reborn into an entirely fresh spiritual life bathed in Mithras’ light, frequently depicted by the rising sun.
In Mithraism, sunlight held multifaceted symbolic significance. It represented the source of life, knowledge, cosmic order, and victory over darkness. The worship of Mithras and the veneration of sunlight played a central role in its adherents’ religious and spiritual lives. Although Mithraism eventually declined with the rise of Christianity, its symbolism continues to intrigue scholars and enthusiasts alike, offering a glimpse into the profound mysteries of this ancient faith.
www.ej-theology.org/index.php/theology/article/view/122
Creation of the cosmos
Both the Avesta and the Achaemenian inscriptions have little to say about creation in the sense that they contain nothing comparable to the Babylonian Enuma elish or to the traditions of the first three chapters of the book of Genesis. What is primarily emphasized is the power and majesty of Ahura Mazdā as creator of heaven and earth. However, beside Ahura Mazdā is an ancient Indo-Iranian god called Thvarshtar (Vedic Tvashtar; “Artisan”), who also appears in Zarathustra’s system of the Beneficent Immortals under the name Spenta Mainyu (“the Beneficent Spirit”). Thvarshtar functions in many ways as Ahura Mazdā’s creative aspect. While in the Gāthās and the Younger Avesta Spenta Mainyu is paired with his evil antagonist Angra Mainyu (“the Evil Spirit”; Ahriman in Middle Persian), in other, later sources it is Ohrmazd (Middle Persian for Ahura Mazdā) himself who is paired with Ahriman. Although there are cryptic allusions in the Avesta to creations of the two antagonistic spirits, the first discursive exposition of the creation of the world by the two spirits occurs in Plutarch (De Iside et Osiride 47), where he says that the Persians “tell many mythical tales about the gods, such as the following. Oromazes (i.e., Ahura Mazdā) born from the purest light, and Areimanios (i.e., Ahriman) born from gloom, strive in war with one another.” The dualistic idea of two primordial spirits, called twins by Zarathustra, goes back to an Indo-European prototype. As far as this myth can be reconstructed, it seems that there were primordial twins before the creation of the world. They came into conflict. One, whose name was “Man” (Iranian *Manuʾ, meaning “man”), killed the other, “Twin” (Iranian Yama; Avestan Yima), and from the dismembered body he fashioned the world, using the skull for the sky, the flesh for the earth, the bones for mountains, and so forth. In another Iranian variant of this myth, Yama appears as the first mortal and the first ruler. The period of his rule, described as a golden age when there was neither death nor old age, neither hot nor cold, and so on, comes to an end when falsehood enters Yama’s speech. The royal Glory (Khvarnah) flees from Yama and takes refuge in the cosmic sea. Yama is then overthrown by a serpentine tyrant named Azhi Dahāka (“Dahāka the Snake”), whose rule ushers in a period of drought, ruin, and chaos. In turn, Azhi Dahāka is defeated by the hero Thraitauna, who establishes the legendary line of kings called kavis. Zarathustra seems to have been the first religious thinker to conceive an eschatological myth concerning a future saviour who will rescue the world from evil, an idea that has been greatly elaborated in Zoroastrianism. It may have been influential in the development of the concept of the messiah in postexilic Judaism. Iranian religion also had a variant of the Noah’s Ark myth. In this myth Yama appears as the first herdsman and leader of humankind. After a long rule during which he has to enlarge the earth three times because of overcrowding, Ahura Mazdā tells him that a great winter is coming and advises him to prepare for it by building a gigantic three-story barnlike structure (vara) to hold pairs of animals and seeds of plants. From the fragmentary version of the myth that has survived, it appears that the vara is actually a sort of paradise or island of the blessed, though this story originated as a pastoralist myth about the building of the first winter cattle station by the culture hero.
Cosmography
The Iranians conceived of the cosmos as a three-tiered structure consisting of the earth below, the atmosphere, and the stone vault of heaven above. Beyond the vault of heaven was the realm of the Endless Lights, and below the earth was the realm of darkness and chaos. The earth itself rested on the cosmic sea called Varu-Karta. In the centre of the earth was the cosmic mountain Harā, down which flowed the river Ardvī. The earth was divided into six continents surrounding the central continent, Khvaniratha, the locus of Aryāna Vaijah, the Aryan land (i.e., Iran).
Day 239 out take.
Showering is the best and worst time of my day, really. I enjoy it mostly because it's the perfect place for me to escape all of my problems. I sing to myself, I hum along to whatever is in my head, I think about conversations I'm going to have with friends, I talk out lists of things I know I need to get done in the coming week.
I hate it because I sometimes forget how long I'm taking and all of a sudden I realize I've been in the freakin' shower for 35 minutes. My poor, poor roommates!
Despite the existence of cloud classifications, identifying cloud types seems, to me, more of an art form - I've noticed that subjectivity plays a role. Considering highly variable cloud shapes, many will not fit exactly into a preconceived "category". For example, I've been told that a cloud releasing precipitation is not a nimbus cloud, even though that's the definition of a nimbus cloud.
I'll give it a try, however - the examples seen here from an airplane over the Carolinas appear consistent with stratocumulus clouds.
Upper left - Argyle Court about to be demolished after 56 years of existence
Upper right - demolition to first floor, the slab was found abutting an old screen wall
Lower right - the remains of an old building is discovered, with the top flatten and acted as footing for the then Argyle Court (built 1955)
Lower left - close up view of the old footing and the granite blocks
Any early 1950s photo about the corner of Argyle Street / Victory Avenue showing the original boundary and shape of this very old building ?
For details of Argyle Court [雅佳大廈] -
Jun: panda…Panda…PANDORA!
Pandora: What?
Jun: You've been staring at that mirror for an hour. What's going on?
Pandora: I'm trying to figure out if I'm real or not.
Jeero: You look real to me, Panda!
Moby: Yes, you look real to me, too!
Jun: You're just as real as the rest of us.
Jeero: Hey, it's not a big deal. Let's just forget about it and go have some banana bread!
Bury St Edmunds Cathedral for most of its existence was simply the parish church of St James until the foundation of the new diocese of St Edmundsbury in 1914 when it was raised to cathedral status, one of the many new dioceses formed in the early 20th century that elevated existing parish churches to diocesan rank rather than purpose building a new cathedral. Many of these 'parish church cathedrals' sit slightly awkwardly with their new status, lacking in the scale and grandeur that befits such a title, but of all of them Bury St Edmunds has been adapted to its new role the most successfully, with in my opinion the most beautiful results.
The medieval church consisted of the present nave, built in 1503-51 under master mason John Wastell, with an earlier chancel that was entirely rebuilt in 1711 and again in 1870. Originally it would have seemed a fairly minor building at the entrance to the monastic precinct, overshadowed by the enormous abbey church that once stood immediately behind it. The absence of this magnificent church since the Dissolution and the scant remains of this vast edifice always sully my visits here with a sense of grievous loss, had history been kinder it would have served as the cathedral here instead and likely be celebrated as one of the grandest in the country.
The church never had a tower of its own since the adjacent Norman tower of the Abbey gateway served the role of a detached campanile perfectly. It is an impressive piece of Romanesque architecture and one of the best preserved 12th century towers in the country.
I’ve been meaning to do a self portrait. Something real. Something that really tells who I am. But I’ve been struggling and failing at the same time. Nothing fitted right. The picture would come out perfect but it didn’t portray me, it didn’t portray who I am. So I started to figure it out. Who am I? I didn’t know. I walked in a dead end before I even started. But I did know who I was. I was a girl who loved to dance and dreamt to become a ballerina. I used to be a girl who loved raisins and could have raisins every single day. I love the sea so much I wanted to become a turtle and then I grew up and realized I couldn’t so I wanted to be a marine biologist instead. I wanted to become a writer. I wanted to get published. But I never became one of those. Even the love for raisins didn’t last. And that’s when I got it. That’s when I got me. I am a result of the things I didn’t become.
Dark Demons' Night II (Kavka Antwerpen)
Video: youtu.be/aKS4rAMScPI
More: soundcloud.com/comafrequency/06-coma-frequency-feat-eufor...
And who told the light manager hat it would be a good idea to use only red lights and cut all front lights?